Écoute de l'enregistrement et analyse

Avec
Nikolaj BjerreDans cette leçon, Nik écoute son enregistrement de la batterie avec un seul micro et explique les avantages et les inconvénients de cette technique.
Le contenu du cours
20 leçons (2h 11min) · 1 gratuites
01. Comment repiquer une batterie de près, en enregistrant avec une configuration de 13 microphones
14:49

02. Récapitulatif : comment enregistrer une batterie avec 13 microphones
2:25

03. Types de micros et placement
3:19

04. Types de micros et placement
Leçon gratuite7:33

05. Type et placement des micros overhead
3:50

06. Micros d'ambiance : type et placement
1:46

07. Micros de toms : type et placement
5:27

08. Types de micros de salle et placement
2:20

09. Régler les niveaux du préampli
15:29

10. Prise d'enregistrement n° 1
2:13

11. Ajustements de la prise n° 1
6:52

12. Enregistrement de la prise n° 2
2:09

13. Finaliser l'enregistrement et conclusion du cours
4:41
Transcription de la leçon
Music Lesson
All right, so let's have a listen and see how it sounds.
As you can see, there's only one track, it's one microphone. Obviously, I used my U87 for this. You can use pretty much any condenser mic, or even if you have a good quality dynamic mic, you can also use that. I've used the Shure SM7, but generally, I would say you get a better result with a condenser mic.
So whatever you have, try it out and see how it sounds. But let's have a listen to see how this sounds.
Lyrics:
You got a whole big bag of money.
You take it in your stride.
A smile won't cost you nothing,
not even for a while.
But I've got love,
I've got love on my side.
You live in way out west,
'Cause you think it's best in your thousand dollar room.
Will you telescope at you?
But I've got love,
I've got love on my.
And you can't take the heat.
As you can hear, it sits pretty nicely in the mix. It's not a perfect sound, but it's definitely usable. With a little bit of processing, this could probably sound pretty good, I would say.
I would not use this on a session, but as a technique to get ideas down, this is really good. You can hear the drum kit is pretty balanced. You can hear the kick, the snare, and the hats. It's a little bit roomy sounding because it's obviously a condenser mic and it picks up quite a lot of the room.
There are no close mics, but it's a very good quality sound of the drum kit, and it's easy to achieve. So there you go, you can use that. Even if you put a little bit of compression on it, it will probably sound a bit tighter and pop a little bit more.
Key Takeaways:
- Very useful technique.
- The drum kit is very balanced when you hear it.
- With a bit of EQ and compression, you can get a really good sound out of it.
So, yeah, again, a very useful tool.
Now let's move on to three mics. We are going to close mic the kick and the snare, so we get a tighter sound, and we're going to use our U87 as an overhead. So that's three mics here.
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Nikolaj Bjerre est un batteur et producteur danois établi aux Tileyard Studios de Londres, qui a travaillé avec des artistes et des groupes tels que Lamb, le Ian Siegal Band, Ella Eyre et Heather Nova. Son travail couvre la batterie en direct, la production, la programmation et l'écriture, passant avec aisance d'un jeu organique et racé à des styles électroniques de pointe, et il est endorsé par Sabian, Hardcase et Protection Racket. Dans ce cours, il te montre comment enregistrer une batterie en direct avec une qualité professionnelle.



















